Interview: Ten minutes with Hugh Wooldridge
Hugh Wooldridge was born in London, England, UK, the son of the British composer John Wooldridge, the actress Margaretta Scott, and brother of actress Susan Wooldridge. For over thirty years, Hugh Wooldridge has directed, produced, devised and lit productions worldwide – from Copenhagen to Cape Town.
He is also credited as being the man to have directed the first productions of Andrew Lloyd Webber’s hit Cats and Jeeves Takes Charge at the Sydmonton Festival. Hugh has also directed many large-scale galas around the world including Chess in Concert starring Idina Menzel, Adam Pascal, Kerry Ellis & Marti Pellow at the Royal Albert Hall and is the man behind the success of the annual large charity gala The Night of 1000 Voices.
John Roberts caught up with Hugh just weeks before this year’s 10th Anniversary production of The Night of 1000 Voices.
What originally inspired you to enter the world of Theatrical Directing?
Well, I come from a background of actors and musicians and to be honest I thought I was never much good at acting. Others liked my work but I never thought I could make a career of it. I remember being at school and kept getting all the lead roles in the school productions, but I didn’t really want to do them and this I felt showed in what I was doing. One year my English schoolmaster asked me to direct a show, at this stage I had no real idea of what a director did; it turned out that I enjoyed it and it received some great reviews, and, looking back, this was perhaps the first time I had received good praise for something that I had done.
How did you get your big break?
I really don’t know, what I can say is during the last professional acting job I did which was in The Dame of Sark, I was talking to the lighting designer Michael Northen about how long it was taking to really get going professionally as a director and he said it would probably take 30 years before it happens, which turned out in my case to be very true! I see directing like a rugby ball – when you kick it, it all depends how it lands, occasionally it will land perfectly in your hands and that dream job appears or it falls on the ground and spins off in many different directions. Noel Coward changed his profession every ten years and I think everybody should have that opportunity too.
Are there any productions you are particularly proud of?
There are three that I am particularly fond of. The 1st is my production of Under Milk Wood which would be classed as Physical Theatre now, the 2nd would be a production of Glass Menagerie that I directed with Moyra Fraser and the 3rd would be the first major large scale event An Evening with Alan Jay Lerner which in the UK starred Placido Domingo and in the US Julie Andrews and Liza Minelli. And a host of others…
What is the best piece of advise you have been or would give about directing?
The best I was ever given was, as mentioned before, from Michael Northen, that to be successful it is going to take 30 years. My advice would be this, as a professional in the industry you can’t class yourself as a director if you don’t immerse yourself in the art, go out and see theatre – good and bad – on a regular basis. It’s only after 5 years of seeing 4 shows a week can you really understand the job of a director.
You are also an accomplished lighting designer with over 60 credits to your name, how did that side of your career come about?
I used to get bullied a lot of at school. The kids saying I only got an acting part because of my mother. Because of this I decided I would do something that she couldn’t do. So I would regularly climb into lighting rigs at 3am, because you could back in those days and started to create my own lighting for shows. I was lucky that when I trained at LAMDA I had some of the best lighting designers in the country who I could go and ask and get advice from – Richard Pilbrow, Robert Ornbo and John B. Read. It is also very handy as a director to know about these things; it saves an awful lot of time if you can help a lighting designer know exactly what you are after.
Where did the idea for Night of 1000 voices come from?
I was approached by NODA (National Operatic and Dramatic Association) in 1999 to create an event for their Centenary. When I asked them how much they were willing to pay the performers and creatives taking part, they said because they were a charity they couldn’t pay anything. As always! So I offered them a show with 1000 performers who would be proud to perform for nothing at the Royal Albert Hall. The name of the show comes from the fact there are 10 NODA Regions in the UK and each region provided 100 members to form the choir on the evening. I was also working on The Music of Andrew Lloyd Webber in the USA at the time and because I knew how quickly the US artistes were at picking up new music – they all sight-read – and because they are all stellar performers from Broadway playing, Christine, Raoul, Cosette etc., I brought them across with me.
It has been going for over 10 years now, why do you think it is so popular?
The Night of 1000 Voices is pure spectacle, there is no other way to hear your favourite show tunes played by a 42 piece orchestra with the world’s leading musical theatre soloists supported by a massive choir and the Royal Albert Hall organ. I suppose you could hold a similar event in a theatre around the country but you would probably end up with four performers and a piano.
Any Favourite Memories?
Night of 1000 Voices
During the first production in 1999, I had been working with all the professional singers all day, getting them rehearsed and prepared for the evening. After the professionals finished each number, the choir cheered loudly and were going quite mad for the soloists. I then had to break the soloists and sart to work in detail with the choir. Before the professionals left, I asked them if there was anything they would like to hear the choir sing – something from Les Mis or West Side Story? They decided to hear the anthem from the musical Titanic, which had recently opened on Broadway. During the song the professionals, hearing the amateur chorus sing magnificently and with real passion, all started to sob their hearts out. When asked why, the response was simple, ‘we do this because it is our job, the people in this choir are doing it because they love it’. This event is a great leveller where it is clear that there is no star – everyone is equal.
Each year The Night of 1000 Voices supports a charity. This year it is for Leukaemia & Lymphoma Research. Why did you choose to support them?
I was introduced to them by the Royal Albert Hall as they thought we would make a great partnership, we are celebrating our tenth anniversary, and they are celebrating their fiftieth, and so far it has been a terrific partnership.
What can we expect from this year’s production?
FUN… We have come up to date with this concert thanks to Adam Pascal and Kerry Ellis. So this year we’ll be performing extracts from RENT and We Will Rock You; as well as the usual favourites.
Any exclusive secrets you can share with us?
Well I can let you know that Philip Quast – the Champion of Sondheim – will be giving a personal salute to the man himself. Also the finale has some very special guests to accompany and support the original ‘Calendar Girls.’
Finally, what projects are next for you?
I am currently mentoring several writers and directors and giving them the support that I wish I had when I entered the profession. I hope it will work, they’ll also shadow me on a couple of plays I have been asked to direct. I am really looking forward to getting back into smaller scale theatre again. It’s where I started 30 years ago…
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For more information on Night of 1000 Voices: Click Here
For more information about Leukaemia & Lymphoma Research: Click Here
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Night of 1000 Voices
Performance times: Sunday 2nd May 4.00pm and 8.00pm
Royal Albert Hall Box Office – 020 7589 8212
Tickets available from £17.50 – £67.50 (4.00pm show at preview prices)
Book online at www.royalalberthall.com
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Photo: Simon Williams, Tristram Kenton
Tags: Hugh Wooldridge, Interview, Night of 1000 Voices, Royal Albert Hall
